I'm sure this has been discussed before, but anyway: do you deck the bridge on your strats? I did and I'm enjoying it like that.
If you do, did you add more springs or did you just tighten the claw screws?
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I'm sure this has been discussed before, but anyway: do you deck the bridge on your strats? I did and I'm enjoying it like that.
If you do, did you add more springs or did you just tighten the claw screws?
All of mine float. BUT I?m most likely picking up a DM Sig Strat tomorrow that has a decked Floyd. Was already planning to float it, but I?ll give it a run as is.
I always found decked trems to stay less in tune. Not to mention if it decks hard and causes additional noise, like it did on a short lived BC Rich Bich. That was a decked Floyd. It was doing it through Springs. Probably not the way you want to go. I think that?s why on the Bich when I let go of the arm, it audibly let out a big noise.
people confuse equilibrium with decked. Yes that?s where you started out at, but decking does not guarantee return. Always allow tolerance on both sides is why I float.
we will see if something proves me wrong.
I've never found the tremolo arm to do anything for my playing, so I tend to remove and block it rather than deck it. I find this easier and handier than decking, as all I need to do is place a wood block against the metal bridge block and not tighten or fiddle with springs. I've heard that blocking vs. decking improves sustain, and tuning is also improved when using bends.
Eric Clapton prefers a blocked tremolo, and that's how the EC Signature Stratocaster is shipped.
Here's my EC Strat.
https://i.postimg.cc/SKD2HF4H/Decked-or-Blocked.jpg
I found decking pretty easy and straight forward. Blocking involves a piece of wood, why not just give the claw screws a tweak?
Placing a block of wood in the gap is simple, easy and fast. And it can be removed just as easily. A block of wood the right size can be had fairly easily. According to Artisan Luthiers, a decked tremolo offers more sustain and better tuning stability. A blocked tremolo offers the best tuning stability and optimal sustain. None of these approaches are irreversible, so do what feels best to you!Quote:
Originally Posted by S. Cane
I had my Strat decked for most of the time I had it - I got it in 2001, I think - it's one of the last American Standard Strats the store I worked in had before switching to the American Series at that time. I had 5 springs in and cranked the claw, so it wouldn't budge.
I think it was the first summer of COVID, I was wondering why I didn't have any trem guitars and whacked myself in the head. I dropped out a couple of springs and readjusted everything to have a half-step rise when I pull up - and I think it actually sounds better - more of the Strat spank, I think, especially in the 2 and 4 positions.
I don't use the trem a ton - like I said, I don't really have any others with one (I have a Schecter Strat style that I still have decked) so it never really became part of my playing.
But it's nice to have when I want it, playing Pink Floyd or something like that.
I have mine blocked on my S-style guitars except for one. I have a tiny spot of superglue on the blocks to keep them from moving. I don't deck because decking still allows the bridge to move and it leaves indents on the body, and most of my Strats are now "vintage" so I don't like to eff with them. My John Mayers came decked from the factory but I prefer the sound of the blocked trems a little better so that's how they are set up. I use rock maple. I feel I get better (aka more full) attack and cut on the blocked trem, and sustain - if your Strat doesn't already sustain - sell it. IMHO Strat sustain comes from the neck.
When you deck you need the springs really tight. Without too much geeky physics and math I can assure you the resonance of the springs will shift to higher frequencies (think of tuning a guitar string), which will accentuate the treble and that can be really handy if you're playing in large rooms at higher volumes. In the studio or bedroom, however; it can be annoying. If needed to you can tame this by using a bigger capacitor on the controls.
When you block you loosen them which will shift things a bit more to the mids. And since the strings are holding it in place, you can adjust the springs to "tune" the mids on the attack. If you need more high-end cut on the attack after blocking replace the treble bleed cap with a smaller one. But when you loosen too much them be prepared to insert a small foam strip inside each spring to prevent rattles. You need to ensure sure they are not coil-bound.
(And I just PO'ed a couple of big name techs who have been keeping this a trade secret.)
Stratocasters are mean, cantankerous little bastards and each one has a personality and two identically spec'd ones can play and sound completely different. I've never been able to understand why. My two Mayers are IDENTICAL and I couldn't tell which was which in a blindfolded test, but I've never been able to have a pair of Fenders that weren't unique. And I don't mean that as a slight to Fenders. I really think the PRS Mayers are a bit on the bland side, but at the volumes I get to play at now who cares? :yah:
BTW, if I want to dive-bomb I prefer a Floyd, or a two-point Fender trem with an LSR or Wilkinson nut and locking tuners. The downfall of trad Strats with trem is the lack of a locking or roller nut.
I have also owned hardtail Strats and that eliminates the issue, but never bonded with that sound/feel so they didn't hang around very long. Full disclosure, that was decades ago and back in those days my playing and amp choices may have been the issue.
Today I'm more dialed. My current analog rig has been set up with a LPB1 (after the buffer) with the coupling cap on the input replaced with a .47cap and a higher bias to the transistor to allow more mids and power into the following effects. When I use a Lester or 335 the LBP1 is switched off. This eliminates the need for the old "always on" compressor for a Strat, keeps the dynamics and eliminates needing different EQ loops for different guitars. I use a OD3, a RAT and a Muff clone as required so they supply the compression. Note- I've also lately gone from blackface to tweed amps and that adds a smoother natural amp compression to my admittedly abused ears.
Now, that's a lot to answer the decking question but I hope it illustrates that there isn't usually one simple change that will change your gear's personality. It's all connected. When you make a seemingly simple change it may trigger a lot of downstream work. And none of it matters if the soundman puts the wrong mic on your amp or puts the right one in the wrong place, lol.
YMMV,
Chuck
PS Added to this: After blocking you may choose to lower the string gauge too as your axe will feel stiffer. This creates the added benefit of a tighter low end from the smaller strings.
I do not deck or block my trems, but I float them. Whatever the thickness of a credit card is
Well we will see about decked. Just picked up a Dave Murray Strat with a decked Floyd.
How do you deck a Floyd? Is it down on the recess? I've never seen that before. I guess I need to look at one and noodle it out. Usually they run into issues with the intonation screws hitting the body if they're too low. Come to think of it., that's a locking FR on it anyway, so no sure what decking would accomplish.Quote:
Originally Posted by blackonblack
No recess. Think Eddys original setup.
I have the bridge on my MJT/USACG Strat floated off the top of the guitar by just the thickness of a guitar pick. It allows me to add shimmer to chords. The bridge on my Bonneville Strat is decked just enough that I can bend strings without it moving. I can still use the vibrato. The guitar was set up from the start with the bridge decked, and I liked how the guitar sounded, so I figured I'd leave it that way.